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Brazilian Euphonium: Brief Historical Background and Annotated

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Brazilian Euphonium: Brief Historical Background and Annotated BRAZILIAN EUPHONIUM: BRIEF HISTORICAL BACKGROUND AND ANNOTATED BIBLIOGRAPHY OF SELECTED SOLO AND CHAMBER WORKS By FERNANDO D. R. DOS SANTOS (DEDDOS) (Under the Direction of David Zerkel) ABSTRACT This research illustrates the development of the euphonium in Brazil. The document consists of a timeline of the euphonium in the country, and an annotated bibliography of selected solo and chamber works that employ the instrument, written by Brazilian composers. Both the timeline and the bibliography present original research. The instrument is an essential part of traditional Brazilian music such as the wind bands and popular genres. The euphonium is already considered as unique in institutions and music festivals, and concert music composers are increasing their interest in the multiple facets of this sweet-voiced instrument. However, there is no research that has been dedicated to the history of the instrument in Brazil, its participation in ensembles and genres, and its collaborative performers and composers. Also, the improvement and variety of the original repertoire after the 2000s deserves documentation, through the creation of an annotated bibliography. This document will provide a foundation for further studies by euphonium scholars, and benefit the music academy in Brazil, due to the newness of the research. INDEX WORDS: euphonium, music history, bibliography, Brazil BRAZILIAN EUPHONIUM: BRIEF HISTORICAL BACKGROUND AND ANNOTATED BIBLIOGRAPHY OF SELECTED SOLO AND CHAMBER WORKS By FERNANDO D. R. DOS SANTOS (DEDDOS) B. MUS., School of Music and Fine Arts of Parana State, Brazil, 2009 M.M., Duquesne University, 2013 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2016 © 2016 Fernando D. Rodrigues dos Santos (Deddos) All Rights Reserved BRAZILIAN EUPHONIUM: BRIEF HISTORICAL BACKGROUND AND ANNOTATED BIBLIOGRAPHY OF SELECTED SOLO AND CHAMBER WORKS By FERNANDO D. R. DOS SANTOS (DEDDOS) Major Professor: David Zerkel Committee: David Haas Joshua Bynum Electronic Version Approved: Suzane Barbour Dean of the Graduate School The University of Georgia May 2016 ACKNOWLEDGEMENTS To my family (Olinda, Rodrigues, Maureen), especially to my dear wife Mariana Batista (and family), who is a great dance artist and the person that inspires my life. To all of my professors: Etiénne Kürten, Margareth Ribas, Marcelo Storck, Robson Santos, Alessandro Koslowsky, Anderson Fabricio, Vande/Guaraná/Marcão/Elói and night-music friends in general, Silvio Spolaore, Harry Crowl, Carlos Assis. A special thanks to my mentors in the United States: my masters professor Lance Laduke and my doctoral professor David Zerkel, plus the inspirational support by James Gourlay (and Lea Havas). To my friends and incredible musicians: Koichiro Suzuki, Artur Ponte, Carlos Domingues, Amandy Bandeira, Pedro Alliprandini and Moisés Bonella (the last three, my partners at Quarteto Ateniense). All euphoniumists and collaborators: Wilson Dias, Marco Antônio Bitoca, Rafael Mendes, Caio César, Lucheu Igor, Osmário Estevam Júnior, Abner Jorge, Carlos Schmidt, Otoniel dos Santos (my beloved student). To the tuba scholars and professors Albert Khattar and Renato Pinto. To my childhood friends: Daniel Yabu, Fernando Perazolli, George Soares, Alex Rovaris, Fernando Pereira, Yussef Pacheco, Marcos Rovaris (Kinho), Eduardo Tito and others. My great “first” chamber music partners, eternal friends, and awesome musicians Guilherme Efrom and Danilo Koch (my cousin from Duo Primo). To my partner at the Duo Corpo de Lata, Rodrigo Capistrano. Thanks to everyone that somehow collaborated with this milestone step in my life. Thanks to the world. Thanks to the new times, the philosophy, the arts, the technology and the internet. Thanks to the makers of good cachaça, it’s all music. iv TABLE OF CONTENTS Page ACKNOWLEDGEMENTS........................................................................................................... iv LIST OF FIGURES...................................................................................................................... vii CHAPTER 1 Introduction.................................................................................................. 1 Methodology - Historiography..................................................................... 3 Methodology – Annotated Bibliography...................................................... 4 Review of Literature .................................................................................... 5 CHAPTER 2 General Euphonium History ........................................................................6 Brazilian Euphonium Timeline ..................................................................12 CHAPTER 3 Annotated Bibliography of Selected Solo and Chamber Works ...............43 Unaccompanied..........................................................................................46 Euphonium and Piano................................................................................52 Euphonium and Large Ensemble...............................................................60 Euphonium and Mixed Ensemble - Duos..................................................64 Euphonium and Mixed Ensemble ............................................................74 Euphonium and Tuba Quartet...................................................................82 v CHAPTER 4 CONCLUSIONS…..................................................................................87 BIBLIOGRAPHY ...................................................................................91 APPENDIX A .........................................................................................98 APPENDIX B .........................................................................................99 vi LIST OF FIGURES Page Figure 1: The Paraná State Military Guard Band......................................................................... 14 Figure 2: Banda Euterpe............................................................................................................... 14 Figure 3: Bouquet (Score) ............................................................................................................ 18 Figure 4: The “Casa Edison” Band .............................................................................................. 20 Figure 5: German Immigrants ...................................................................................................... 20 Figure 6: Banda Euterpe (São Bento do Sul) ............................................................................... 21 Figure 7: The “Novo Século” Band ............................................................................................. 22 Figure 8: The “Orquestra Ideal”................................................................................................... 24 Figure 9: The city of Pirenópolis Orchestra.................................................................................. 25 Figure 10: The “Velhos Camaradas” Jazz Band .......................................................................... 26 Figure 11: The ensemble “Bola Vermelha”.................................................................................. 26 Figure 12: Jonas Cordeiro ............................................................................................................ 30 Figure 13: Sonata by Michael S. Kelly ........................................................................................ 34 Figure 14: Hermeto Pascoal.......................................................................................................... 35 Figure 15: Wilson Dias .................................................................................................................37 vii CHAPTER 1 Introduction It was only recently that the euphonium literature and practice in Brazil started to flourish. Since Francisco Braga’s Diálogo Sonoro ao Luar for alto sax and euphonium was published by Francisco Curt Lange in 1946,1 only a small quantity of original works were written for the instrument during the 20th century, but many more works have been written in the last fifteen years. The use of the instrument is seen in a variety of genres through the Brazilian music history. Although, until recently, its role is generally secondary, and the performers are mostly attached to other’s groups instead of leading their own projects. Thus, this most recent and meaningful development of the original repertoire naturally requires new research. My study covers the evolution of the euphonium in Brazil through the creation of a timeline and an annotated bibliography of selected works by Brazilian composers. Currently, the Brazilian musical academy still does not recognize the euphonium as an instrument that deserves an exclusive chair and studio. There are only few options for those who wish to pursue a higher education degree in music with a concentration in the instrument, for 2 example at the Faculdade Mozarteum in São Paulo city, and at the Federal University of 1 The date of the composition is still unknown. The piece was published after the death of the composer in 1945. Francisco Braga, Diálogo Sonoro ao Luar, Seresta, for Alto Sax and Euphonium. Ed. by Francisco C. Lange. Boletín Latino Americano, year 6. (Rio de Janeiro: Instituto Interamericano de Musicologia, 1946). 2 The euphonium is listed between the instruments that are pertinent to the bachelors
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